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Los Angeles – His acting career spanned from working with Alfred Hitchcock to Tim Burton. Along the way, he had significant TV and film roles including a Best Supporting Oscar win for portraying Bela Lugosi in Burton’s “Ed Wood”. Martin Landau died in Los Angeles on July 15, 2017. He was 89.

He was one of the rare actors known both for distinctive parts in both television and film, and had a revival in his career towards the end of his life. Besides working for directors Hitchcock and Burton, he also has roles in films by Woody Allen, Joseph L. Mankiewicz, Francis Ford Coppola and Frank Darabont. On television, he had an early role on “Mission: Impossible in the 1960s, and another on the cult series “Space :1999”

The lanky, offbeat-looking veteran of the Actors Studio, for he which he was currently West Coast co-artistic director, had many ups and downs in his career. His greatest successes (three Oscar nominations and one win) came later in life when he returned to character roles like the one that first won him notice, as James Mason’s sinister gay henchman in Alfred Hitchcock’s “North by Northwest.”

He was Emmy-nominated five times, and most of his leading man roles came on television, most notably as Rollin Hand, a master of disguise on “Mission: Impossible.” He later spent a couple of years starring in

The lanky, offbeat-looking veteran of the Actors Studio, for he which he was currently West Coast co-artistic director, had many ups and downs in his career. His greatest successes (three Oscar nominations and one win) came later in life when he returned to character roles like the one that first won him notice, as James Mason’s sinister gay henchman in Alfred Hitchcock’s “North by Northwest.”

He was Emmy-nominated five times, and most of his leading man roles came on television, most notably as Rollin Hand, a master of disguise on “Mission: Impossible.” He later spent a couple of years starring in

It takes a lot to stand out when you’re standing between Robert Mitchum and John Wayne. And it surely isn’t easy when you’re also standing in front of the venerable Howard Hawks. But this was the position 25-year-old James Caan found himself in when he took on the role of Alan Bourdillon Traherne, otherwise known as Mississippi, in Hawks’ 1967 Western, El Dorado. Though Hawks was nearing the end of his filmmaking career (this would be his penultimate movie) and Caan was just at the start of his (following two features and about five years of extensive television work), they were each entering the project under similar circumstances. Indeed, it was their shared experience on the disappointing Red Line 7000 (1965) that left them both wanting. It may have been a personal letdown for Caan, but that film’s poor reception wasn’t a deal-breaker as far as his prospects were likely to continue.

Those having experienced the independent cinema styling of Jeff Lipsky won’t be surprised by the end product of his latest overblown cascade of maudlin litanies in Mad Women. A forced provocation ruinously scored by an endless patter of affected, hopelessly insincere bits of dialogue, the ineptitude is exacerbated by this being Lipsky’s sixth feature, and yet this production bears the same marks of amateurism as his previous endeavors. Shrill, annoying, and as graceful to observe as a symphony of tapered fingernails viciously excoriating a football field sized chalk board, the end result features overly rehearsed actors floundering through endless, exaggerated monologues.

Nevada Smith (Katie Lynn Stokes) is the product of a seemingly affluent environment. Residing in the privileged community known as Iris Glen, she is the second of three children belonging to her dentist father Richard (Reed Birney

(Introducing Dom Robinson, a new Blu-ray/DVD Reviewer and Home Video enthusiast who runs DVD Fever and has recently joined Owf)…

Well, the obvious reason it’s good for you is because you’re seeing the film as it was originally intended by the director. In times gone by, the average t.v. watcher would baulk at the thought of seeing black bars on their screen when watching a film, but this has thankfully waned somewhat in the 21st century thanks to the advances in home cinema technology and the price drops that have allowed these high-end systems to take over our living rooms.

For many years, the chances of seeing a film with a ratio of 2.35:1 being shown on a conventional TV channel was rather a rarity, even in the early ’90s when Alex Cox’s Moviewatch series would claim to show films for film buff, yet he

The 1970s was a time of many cinematic styles and fads, and one of the most entertaining phases of the era was the Hitchcock-inspired movie. Through the popular writings of people such as Francois Truffaut and Richard Shickel in the 1960s, Alfred Hitchcock had rightfully and rather suddenly been elevated from mere shockmeister to Master Artist of the Cinema. Either intentionally or by cinematic osmosis, Hitchcock’s style became the fashion of the day throughout the 70s. From low budget exploitation such as Wicked, Wicked (covered in a previous Not Available on DVD), to arguably its peak in the work of Brian De Palma (Sisters and especially Obsession), several filmmakers basically ripped off one of the greatest directors in history throughout the 70s. Long camera tracking/dolly shots, first person perspective, and rapid editing started showing up in loads of films, even non-thrillers. But by the end of the 70s,

Exclusive: World champion poker player Chris Ferguson is putting his chips on the table to back, Rcr Pictures, a new film/TV venture. The company will be run by producer and former River Road Entertainment executive Robin Schorr, who said she has raised the funding for overhead and a five-year revolving development fund to generate properties she'll package and then set up with distributors. The lead investors are Ferguson and his business partner, Ray Bitar. Schorr confirmed that the first project set up is a contemporary remake of Nevada Smith, the 1966 Western that starred Steve McQueen as a wronged man hellbent [...]

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